Volume  XXXVII  ,  ,  MAY,  1922  Number  5 

Modern  LAiNjCUAtiE  Notes 

EDITED   BY 

JAMES  WILSON  BRIGHT,  Editor-in-Chief 

GUSTAV  GRUENBAUM  WILLIAM  KURRELMEYER 

H.  CARRINGTON  LANCASTER 


CONTENTS 


BABBLXX,  IRVING.— Schiller  and  Romanticism,         -----  -257 

LOVEJOY,  ArO.— Reply  to  Professor  Babbitt,         .  -         -         -  -     268 

COLLITZ,   H.— Germanische   Wortdeutungefl,:^^ 274 

PANCOAST,  H.S.=.»id  "Wordsworth  jest  with  Matthew?  -  -     279 

MlLhET,  J.  E.— Church-and-Stage  Controversy  in  Granada,  -         -     284 

FARNHAM,  W.— Scogan's  '  Quern  Quaeritis,'       ------     289 


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292 


•Reviews: — 

Oliver  Towles,  Prepositional  Phrases  of  Asseveration  and  Adjuration 

in  Old  and  Middle  French.     [P.  B.  Fay.l  .         .         .         - 

G.  L.  VAN  RoosBKOECK,  The  Cid  Theme  in  France  in  1600;  The  Purpose 

of  Corneille's  Cid.  [H.  C.  Lancaster. '\  -----  296 
H.  G.  Graf,  Goethe  uber  seine  Dichtungen.  [L.  L.  Mackajll.]  -  -  300 
P.  R.  LiEDEE,  Scott  and  Scandinavian  Literature.     [F.  #.  J.  JJewser.]     303 

Correspondence: — • 
Van  Roosbboeck,  G.  L.,  Corneille's  Relations  with  Louis  Petit,     - 
Johnston,  O.  M.,  Note  on  For  ce  que,  Farce  que,  and  Pour  que,     - 
Law,  R.  A.,  The  Background  of  Browming's  Love  Among  the  Ruins,     -     312 

Starck,  T.,  The  Rimes  of  Stefan  George, 313 

Hughes,  Helen  S.,  A  Letter  to  Richardson  from  Edward  Young,         -     314 

Brief  Mention: — 

Robert  Bridges,  Milton's  Prosody  ;^W.  P.  Ker,  Fleurs  de  France, 
Poesies  lyriques  depuis  le  Romantisme; — John  M.  Hill,  Index  Ver- 
borum  de  Covarruvias  Orozco:  Tesoro  de  la  Lengua  Castellana  o 
Espanola,  ^^^ 


307 
310 


Modern  iLANkSiiJAGE  Notes 

.  .♦. 

A  M^SfT'Hlj'^  ^.t^CATlON-Vith  inter- 
mission from  July  to  October  (inclusive) 

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the  related  Germanic  Languages;  and  of  French,  Italian,  Spanish,  and  the 
other  Languages  of  the  Romance  Group.  Its  purpose  is  also  to  promote 
sound  methods  in  the  teaching   of  the  Modern  Languages  and  Literatures 


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PREPARATION  OF   COPY 

All  copy  should  be  in  typewritten  form. 

Underscore  (for  italics)  all  titles  of  books,  periodicals,  poems,  plays  and  other 
^separately  published  compositions. 

Use  numerals  in  designating  foot-notes,  and  number  foot-notes  in  unbroken  sequence. 

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"referenee. 


OXFORD  SERIES  OF  NEW  ENGLISH  CLASSICS 
A  NEW  VOLUME 

Metaphysical  Lyrics  and  Poems  of  the 
Seventeenth  Century 

Selected  and  Edited,  with  an  Essay 
By  Herbert  J.  C.  Grierson" 

To  the  popular  series  edited  by  Mr.  Nichol  Smith  (Mr.  Percy  Simpson's 
Every  Man  in  His  Humour,  Mr.  Pearsall  Smith's  selection  from  Donne's 
Sermons,  Mr.  Nichol  Smith's  own  Characters,  ISIiss  Hadow's  Ealeigh,  Llr. 
Chapman's  Boswell)  Prof.  Grierson  now  adds  a  volume  representative  of 
the  School  of  Donne.  The  authors  include,  beside  Donne  himself,  Milton 
(the  Hymn),  George  Herbert,  Lord  Herbert  of  Cherbury,  Carew,  Suckling, 
Cleveland,  Crashaw,  Lovelace,  Vaughan,  Cowley,  Marvell,  Quarles,  and 
others.  The  poems  are  in  three  sections:  Love  Poems,  Divine  Poems,  and 
Miscellaneous — Elegies,  Satires,  and  the  like. 
Copies  of  the  above  for  examination  with  a  view  to  class  use  may  he  had  on  request 


Oxford  University  Press 

American  Branch 
35  West  32  nd  Street,  New  York 


SCOGAN'S   Q^UJ^M  QU-AMlTh^l^  289 

/  Don  Francisco  /  Cascales,  /  al  apolo  de  Espana  /  Lope  de 
Vega  /  Carpio,  /  el  ano  de  1634.  /  En  defensa  de  las  Comedias,  / 
y  representacion  de  ellas.  /  Segunda  Impression,  / — /  con 
LiCEXciA.  En  Madrid :  En  la  Imprenta,  y  Libre-  /  ria  de  Joseph 
Garcia  Lanza,  Plazuela  del  Angel.  /  Ano  de  1756.  //  4°.  Title- 
sheet  and  sixteen  numbered  pages.     Sigs.  A-B. 

Joseph  E.  Gillet. 

University  of  Minnesota. 


SCOGAN'S    QUEM    QUAERITIS 

It  would  be  hard  to  imagine  a  less  likely  place  than  Scoggins 
Jests  from  which  to  extract  a  seriously  worthy  new  version  of  the 
Easter  Quem  Quaeritis.  As  well  go  to  Mr.  Dooley  for  light  on 
modern  Irish  drama  as  to  Scogan  for  light  on  liturgical  drama. 
Yet  both  medieval  and  modern  clowns  might  conceivably  have 
directed  jests  illuminatingly  over  the  respective  subjects. 

The  mysterious  compiler  who  acted  humble  Boswell  to  Scogan 
or  Scoggin  by  recounting  his  jests  helps  to  prove,  I  believe,  that 
what  Chambers  thinks  the  highest  development  of  the  Easter 
drama,  the  form  in  which  Christ  himself  appears,  was  fairly  com- 
mon in  England  as  well  as  on  the  Continent.  Professor  Young 
has  recently  published  one  fourteenth  century  English  play  of  that 
form,^  Scogan  seems  to  indicate  a  wider  knowledge  of  the  type 
in  England.  Chambers  knew  only  Continental  versions.  He 
says :  ^  "  The  addition  of  the  apostle  scene  completed  the  evolution 
of  the  Easter  play  for  the  majority  of  churches.  There  were,  how- 
ever, a  few  in  which  the  very  important  step  was  taken  of  intro- 
ducing the  person  of  the  risen  Christ  himself;  and  this  naturally 
entailed  yet  another  new  scene.  Of  this  type  there  are  fifteen 
extant  versions,  coming  from  one  Italian,  four  French,  and  four 
German  churches.  .  .  .  Here  (in  a  Fleury  play  which  he  describes 
as  an  example)  the  Christ  appears  twice,  first  disguised  in  simili- 
tudinem  hortolani,  afterwards  in  similitudinem  domini  with  the 
lab  arum  or  resurrection  banner." 

^  Transactions  of  the  Wisconsin  Academy  of  Sciences,  Arts,  and  Letters, 
XVI,  part  2   (1909),  929-.S0. 

^The  Media-val  Stage    (1903),   ii,  31-2. 

3 


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290  A  :  '  'U-Ol^l^lii^  UAX^'lJ:A.GE  NOTES 

One  of  Scogan's  ungodly  practical  jokes  needed  for  a  setting 
just  this  kind  of  Easter  play,  and  the  author's  mood  was  for  going 
into  interesting  details.  This  occurs  only  in  the  1613  edition  of 
Scoggins  lestes.  Wherein  is  declared  his  pleasant  pastimes  in 
France;  and  of  his  meriments  among  the  Fryers:  full  of  delight 
and  honest  mirthe.  Of  this  book  the  one  copy  now  extant, 
so  far  as  I  am  aware,  is  that  in  the  Bodleian  library  which  I  have 
examined  and  described  for  a  recently  published  investigation  into 
Scogan's  slippery  identity.^  It  gives  a  quite  different  lot  of  jests 
from  those  of  the  1626  edition  reprinted  by  Hazlitt  in  his  Shake- 
speare Jest-Bools.  The  tale  of  the  Easter  play  is  the  eighth  jest, 
although  the  book  has  no  numbering  of  pages  or  jests  which  may 
be  referred  to.     It  is  in  Scogan's  best  scurrilous  vein: 

How  Scoggin  set  a  whole  towne  together  by  the  eares.  At  Easter  follow- 
ing Scoggin  came  to  the  same  Village  againe,  at  which  time  the  Parson 
of  the  towne  (according  to  the  order  of  the  popish  Clergie  would  needes 
Iiaue  a  stage  play,)  [parenthesis  sic]  and  as  in  that  age  the  whole  earth 
was  almost  planted  with  superstition  &  idolatry,  so  such  like  prophane 
pastimes  was  greatly  delighted  in,  especially  playes  made  of  the  Scripture 
at  an  Easter,  as  I  said  before)  the  Parson  of  the  Village  would  haue  a 
play  of  the  resurrection  of  the  Lord,  and  for  because  the  men  were  not 
learned,  nor  could  not  reade,  hee  tooke  a  lemman  that  he  kept  (hauing 
but  one  eye)  and  put  her  in  the  graue  of  an  Angell  which  when  Scoggin 
saw,  he  went  to  two  of  the  simplest  fellowes  in  the  towne,  that  plaid  the 
three  Maries:  and  the  Parson  himselfe  plaid  Christ  with  a  banner  in  his 
hand.  Then  said  Scoggin  to  the  simple  fellowes  when  the  Angell  asketh 
you  whom  you  seeke,  you  must  say  the  Parsons  lemman  with  one  eye,  so 
it  fortuned  that  the  time  was  come  that  they  must  play  and  the  Angell 
asked  them  whom  they  sought?  IMarry  quoth  they,  as  Scoggin  had 
taught  them,  wee  seeke  the  Priestes  lemman  with  one  eye,  which  when 
the  woman  hearde,  she  arose  out  of  the  graue  and  all  to  be  scratched  one 
of  the  poore  fellowes  by  the  face  that  plaid  one  of  the  three  Maries: 
Whereupon  hee  soundly  buffeted  her  about  the  eares,  the  priest  seeing 
this  threw  down  his  banner  and  went  to  helpe  his  lemman,  with  that  the 
other  two  fell  upon  the  Priest,  the  clerkes  likewise  tooke  the  priests  part, 
and  many  other  of  the  parisioners  on  the  contrary  side,  so  yt  in  short 
time  the  whole  towne  lay  together  by  the  eares  in  the  middle  of  the 
Church,  which  when  Scoggin  perceiued  he  went  his  way  out  of  the  village 
and  came  no  more  there. 

It  should  be  said  at  once  that  the  compiler  of  the  jests  in  the 
1613  edition  pretends  that  he  has  translated  liis  book  from  French. 

^Modern   J.anrjvagc  Tycrini'.   XYl    (1921),   120  ff. 


SCOGAN'S   QUEM  QUAERITIS  291 

On  page  one  appears  the  heading:  Certaine  Merrie  lestes  of 
Scoggin  translated  out  of  French.  This  is  fiction,  we  may  be  sure, 
and  we  can  pass  it  over  with  the  same  laughter, — or  scorn,  if 
Scogan  happens  to  be  too  elemental  for  us, — which  we  accord  the 
other  jests.  The  compiler  plainly  thought  to  add  authority  to 
these  Continental  adventures  of  Scogan  by  pretending  that  they 
were  originally  recorded  in  French,  but  there  is  not  the  slightest 
evidence  of  a  French  original  anywhere,  and  Scogan's  vogue  has 
always  been  of  the  English  English.  Moreover,  the  game  is  given 
away  by  the  duplication  in  the  1613  edition  of  four  jests  in  the 
unquestionably  English  1626  edition,  Avhich  of  itself  is  probably 
only  a  copy  of  a  much  earlier  edition.*  The  English  setting  be- 
comes French  with  the  greatest  ease. 

And  so  with  some  assurance  we  can  guess  that  this  tale  of  the 
priest  and  his  one-eyed  lemman  describes  an  English  play.  The 
writer  obviously  considers  himself  much  removed  from  the  time, 
for  he  makes  pointed  reference  to  the  earlier  and  more  supersti- 
tious times  which  loved  Easter  plays.  His  violent  anti-Popery 
proves  the  author  to  have  belonged  to  Protestant  England,  but  he 
probably  reworked  a  jest  handed  down  in  folk-lore  from  previous 
generations.  The  earliest  certain  date  for  any  of  Scoggins  Jests 
is  1565-6,  when  a  collection  now  unknown  was  licensed  for  print- 
ing.® However,  the  jests  undoubtedly  circulated  in  some  form 
long  before  this,  and,  as  I  have  tried  to  show  at  length  elsewhere, 
Scoggin  the  jester  was  probably  the  same  Scogan  who  lived  in 
Chaucer's  time  and  appears  in  Chaucer's  Envoy.^ 

I  think  then  that  Scogan's  jest  of  the  Easter  play  makes  very 
probable  the  existence  in  England,  say  during  the  early  fifteenth 
century,  of  such  a  version  as  is  described,  but  even  if  the  setting 
is  really  French,  this  slovenly  told  little  story  is  full  of  interest. 
Chambers  says :  '^  "  It  must  be  borne  in  mind  that  the  Quern  quae- 
ritis  remained  imperfectly  detached  from  the  liturgy,  out  of  which 
it  arose.  The  performers  were  priests,  or  nuns,  and  choir-boys." 
But  in  Scogan's  play  the  secularization  seems  to  have  gone  so  far 
that  some  of  the  parts  at  least  were  played  by  townspeople.     Still 

*  Modern  Language  Review,  xvr,  123,  note. 

'  Arber's  Transcript,  i,  1.34. 

'  Modern  Language  Review,  xvi,  120  ff.,  as  noted  above. 

''Work  cited,  n,  35. 


293        MODEKN  LANGUAGE  NOTES 

more  interesting,  the  women's  parts  were  played  by  men.  The 
priest's  lemman  gets  the  part  of  the  angel  only  because  the  simple 
fellows  of  the  town  were  not  lettered  enough  to  take  it.  The  brief 
sketch  of  the  audience  assembled  in  the  church  to  see  the  play  and 
falling  into  a  fight  over  it  is  a  breath  of  reality. 

Because  of  the  hit  or  miss  fashion  in  which  the  jest  is  told,  per- 
haps after  all  the  most  dependable  and  significant  thing  about  it 
is  the  life-like  picture  of  a  priest  with  commendable  artistic  im- 
pulses, though  unpraiseworthy  morals,  working  up  an  Easter 
drama  among  parishioners  neither  artistic  nor  lettered.  It  must 
have  happened  so  pretty  often.  Even  though  he  is  mediaeval  in 
morals,  the  priest  is  vividly  like  an  earnest  young  rector  of  today 
getting  up  church  theatricals.  The  whole  story  has  a  human  touch 
which  the  Latin  texts  of  the  liturgical  drama  do  not  share. 

Washington    and   Lee    University.  WiLLAKD  FaRNHAM. 


EEVIEWS 


Prepositional  Phrases  of  Asseveration  and  Adjuration  in  Old  and 
Middle  French.  By  Oliver  Towles.  Paris:  Champion,  1920. 
X  -f  157  pp. 

In  his  "Introduction"  (pp.  7-10),  the  author  of  this  Johns 
Hopkins  dissertation  summarizes  the  general  principles  involved  in 
the  use  of  invocatory  formulas,  and  delimits  the  scope  of  his  inves- 
tigation. By  confining  his  attention  to  "  the  invocation  of  objects 
of  reverence  and  love  by  means  of  a  phrase  consisting  of  an  intro- 
ductory preposition  plus  the  name  of  the  object  invoked,"  he 
excludes  the  consideration  of  such  forms  as  si  m'ait  dieu,  le  diahle 
m'emporte,  etc.  He  further  excludes  prepositional  phrases  based 
on  the  name  of  some  abstract  quality  (e.  g.,  'par  amour),  except 
when  "  as  the  result  of  the  presence  of  the  possessive  pronoun 
(e.  g.,  par  ma  foi),  the  abstraction  seems  to  be  made  definite, 
personified  and  invoked."  Exclamatory  or  inter jectional  forms  are 
included  only  "  where  invocations  in  normal  adjurative  or  asseve- 
rative  forms,  or  in  forms  derived  from  them,  are  used  inter- 
jectionally."  ^ 

"What  evidence  is  there  that  ieau  Dieu,  benoit  Dieu   (p.  20),  each  of 


Additions  to  the 

International  Modern  Language  Series 

Erckmann-Chatrian's  Histoire  d'un  Consent  de  1813 

An  interesting  account  of  the  experiences  of  a  boy  from  Lorraine 
in  Napoleon's  army. 

Trueba's  Cuentos  y  Cantares 

Eight  characteristic  selections  by  "the  poet  of  the  people" — 
two  tales  of  northern  Spain  and  six  short  ballads. 

Martinez  Sierra's  El  Palacio  Triste  and 

Benavente's  Ganarse  la  Vida 

Two  charming  little  plays  about  children  by  noted  modern  play- 
wrights which  make  an  instant  appeal  to  both  young  and  old. 

NEW  EDITIONS  WITH  EXERCISES 
Colin*s  Contes  et  Saynetes 
Halevy's  Un  Mariage  d'Amour 
Sand's  La  Mare  au  Diable 

Boston     GINN    AND    COMPANY     New  York 
Chicago      London     Atlanta     Dallas      Columbus      San  Francisco 


NEW  FRENCH  and  SPANISH  BOOKS 

Cerf  and  Giese's  Beginning  French.     New  Edition. 

By  Barby  Ckkf  and  W.  F.  Giese,  University  of  Wisconsin. 

In   this  new  edition  the  International  system   of  phonetic  symbols  has  been  substituted  lor 
the  symbols  used  in  the  first  edition. 

Bordeaux:  La  Peur  de  Vivre. 

Introduction,  notes  and  vocabulary,  by  H.  W.  Church,  Allegheny  College. 

Augier  et  Sandeau:  Le  Gendre  de  M.  Poirier. 

Introduction,  notes,  exercises  and  vocabulary,  by  R.  L.  Hawkins,  Harvard 
"University. 
A  new  edition  of  this  very  popular  play  containing  direct-method  exercises. 

Banville:  Gringoire,  bound  In  same  volume  with  Coppee:  Le  Luthier  de 
Cremone. 

Introductions,  notes  and  vocabulary,  by  Aaron  Schaffek,  University  of  Texas. 

Le  Paris  d'Aujourd'hui. 

By  Franck  Louis  Schoell,  University  of  Chicago.      Exercises  and  vocabulary. 

Wilkins'  Beginners'  Spanish  Reader. 

By  Lawrence  A.  Wilkins,  Director  of  Modern  Languages,  High  Schools  of 
New  York  City.    With  Locuciones,  Cuestionarios  y  Ejercicios. 

Harrison's  Spanish  Correspondence.     Revised  Edition. 

By  E.  S.  Harrison,  Commercial  High  School,  Brooklyn. 

Henry  Holt  and  Company 

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